Context (Field collection)
Acquired by Lundbohm at Rorke's Drift 1969- 1975.
Acquired by Hobbs from Otto Lundbohm, in Hamburgsund, Sweden, 2006.


Event Date
Author: rachel hand

Context (References)
An imprint of this work was discussed and illustrated in Offringa, D. (1988) Die Evangeliese Lutherse Kerk Kuns en Handwerksentrum, Rorke’s Drift. (MA thesis) Pretoria University.
Event Date 1988
Author: Remke van der Velden

Context (References)
Illustrated in Hobbs, P. (2012). Ideology, imagery and female agency in tapestry at the Evangelical Lutheran Church Art and Craft centre, Rorke’s Drift, during the Swedish period 1961–1976 (Doctoral Thesis / Master’s Dissertation). Johannesburg: University of Johannesburg.

Noted as 'A series of tapestries of embellished organic forms resulted from encounters with designs in the textile-printing workshop, which was chiefly staffed by women. One was Goodness Mdluli’s As beautiful as can be (c.1973) [Fig. 5.8a], designed for repeat-printing by means of a silkscreen onto lengths of fabric. A screenprint of the basic design was given to Ester Nxumalo and Philda Majozi to develop in the loom'.

Caption: 'Figure 5.8a: Goodness Mdluli. As beautiful as can be. (c.1973). Screenprint on cardboard. 59 x 100 cm. Museum of Archeology and Anthropology, Cambridge, UK. Photo: Russell Scott.'
Available at http://hdl.handle.net/102000/0002 (Accessed 26/07/2022)
Event Date 2012
Author: rachel hand

Context (Amendments / updates)
This is a large screen-print dating from the second half of the 1960s, subsequently used as a design for a large weaving and popular textile design. There is a photograph of Paul Sibisi wearing a shirt made of this textile. The only other print Hobbs knows of is in the ELC collection. But it was discussed and illustrated in Dirkie Offringa's thesis, which suggests at least one further impression was made.

From an unpublished internal document, 'PH Comments on artworks', by P. Hobbs, undated [2013].
Event Date 2013
Author: Remke van der Velden

Context (Acquisition Details)
The Hobbs' Rorke's Drift Collection was purchased from the collector, South African printmaker and art historian Philippa Anne Hobbs, with money from the Victoria and Albert Museum Purchase Grant Fund, The Art Fund and private donations. The collection included items received through a combination of gift and purchase.

From the early 1960s, one of the most important centres for new practice in southern Africa was the Evangelical Lutheran Art and Craft Centre, situated at the battlefield site of Rorke's Drift in what is now KwaZulu Natal. The project was led by teachers, Peder and Ulla Gowenius, graduates of the Konstfackskolan, a Bauhaus style modernist institute. They worked with patients recuperating from tuberculosis at the Ceza Hospital and saw crafts such as weaving essentially as therapeutic, but economic empowerment was also an aim, hence work was sold locally and through exhibitions in Sweden, a training programme was developed, and printmaking was introduced early in 1962. From the beginning, linocuts made by Azaria Mbatha (1941-) and Muziweyixhwala Tabethe were highly impressive; they embraced Biblical subjects, indigenous belief, and historical scenes related to Zulu identity.

In 1963 the ELC relocated to Rorke's Drift and expanded its activities. The Centre was virtually alone in providing a place during the Apartheid period in which black artists could train and produce work. In 1968 Otto and Malin Lundbohm arrived, bringing new expertise in textile screen-printing; Otto Lundbohm became principal in 1969 and led the school until 1975. Students who became major practitioners included Dan Rakgoathe (1937-), Vuminkosi Zulu (1948-1996), Charles Nkosi (1949), Tony Nkotsi (1955-), and Sam Nhlengethwa (1955-).

From the mid-1990s Philippa Hobbs collaborated with Elizabeth Rankin towards what is now the standard monograph, Rorke's Drift: Empowering Prints (2003). To facilitate her research she assembled a collection, purchasing some works from artists, and a substantial group from former principal, Otto Lundbohm, who had himself bought the prints directly from the artists. A total of 61 works fully represent the development of printmaking at Rorke's Drift. The collection includes the key early works by Mbatha and Tabete, dating from 1962, and prints by all the other significant Rorke's Drift artists .These are complemented by a further 22 prints made by Rorke's Drift artists after the centre closed in 1982; this group includes Joel Sibisi's 1994 print, Voting at Rorke's Drift, bringing the story into the post-Apartheid period. The Hobbs collection is the strongest of any private collection representing the ELC and these artists and incorporates the personal collection of a key figure, centre principal Otto Lundbohm.

The collection represents what is not only a chapter of foundational importance in South African art history, but a vital movement that exemplifies the emergence of local modernisms worldwide. With the encouragement of outside teachers, these Zulu and other artists embraced new techniques and styles and produced art that imagined a changing world and their place within it. This was an art that gave voice to visions of liberation as well as to customary belief, the local vision of history and the environment, and to the Christian theology that became and remains fundamental and empowering for many Africans today.
Event Date 16/7/2014
Author: maa

Description (Physical description)
Screen-print by Goodness Mdluli titled 'As beautiful as can be', undated. Edition: Unnumbered. Signed: 'Goodnes [sic] Mdluli'.
Event Date 16/7/2014
Author: maa